Celebration And Tribute

SKU: HL.44010442

UPC: 884088452667. 8.25x11.75x0.84 inches.

Legend has it that Edith Piaf, one of the greatest stars of the French music scene, was born under a lamp post in the streets of Paris and spent much of her lonely childhood roaming the streets, singing here and there in front of a fascinated audience. Out of the poor streets developed a singer who was to become the darling of French cabaret. A Tribute to Edith Piaf is a wonderful arrangement for concert band of four of the most well known songs of this romantic, spontaneous, desperate and everlasting legend.

Naar verluidt werd een van de grootste sterren uit de Franse muziekwereld onder een lantaarnpaal in de Parijse rue de Belleville geboren. Na een eenzame jeugd, waarin ze veel over straat zwierf en voor mensen zong, werd Edith Gassionontdekt door Louis Leplee. Van hem kreeg ze haar bijnaam, La mome Piaf (de kleine mus). A Tribute to Edith Piaf is een prachtig arrangement voor harmonieorkest van Roland Kernen. Het omvat vier van de bekendste chansonsvan deze tegelijkertijd romantische, spontane, wanhopige en onsterfelijke legende: Milord, Hymne a l'Amour, Mon Manege a Moi en La Vie en Rose.

Die Legende um Edith Piaf, den Spatz von Paris besagt, dass sie aus armsten Verhaltnissen kam und ihre Karriere auf der Strasse begann. Aus der armen Strassensangerin wurde die wohl beruhmteste Chansonsangerin aller Zeiten. A Tribute to Edith Piaf ist ein wundervolles Medley fur Blasorchester von Roland Kernen aus vier der bekanntesten Lieder dieser unsterblichen Legende.

Le 19 decembre 1915, Paris a vu naitre sous un lampadaire de la rue de Belleville (si l'on en croit la legende), une etoile de la chanson francaise. Enfant delaissee, Edith Gassion sillonne seule les quartiers de Paris, en chantant ici et la devant un public fascine, avant d'etre remarquee par Louis Leplee qui l'accueille de son cabaret et qui pose sur cette voix unique un nom voue a l'immortalite, la mome Piaf (FAM. moineau), symbole de la fragilite physique du personnage. Mais du haut de ses 1,47 m, elle seduit le Tout-Paris de l'entre-deux guerres puis cristallise autour d'elle le public international. La mome Piaf devient alors definitivement Edith Piaf, lacoqueluche des intellectuels, l'amie des grands chansonniers tels que Maurice Chevalier, Mistinguett, Lucienne Delisle et Andre Claveau. Artiste celebree dans le monde entier, femme tourmentee et dechiree, Edith Piaf cessera de chanter le 11 octobre 1963.Avec A Tribute to Edith Piaf (Hommage a Edith Piaf), Roland Kernen signe un superbe arrangement pour Orchestre d'Harmonie de quatre des plus celebres chansons de cette legende immortelle, romantique, spontanee et desesperee : Milord, Hymne a l'Amour, Mon Manege a Moi et La Vie en Rose.

SKU: CL.012-1748-01

A composition student of the late J. Clifton Williams, Robert Foster composed this work for symphonic band as a tribute to Mr. Williams. The work begins with a statement of the primary theme as a fanfare. The theme recurs later in the work in the form of a chorale, and returns even later in the energetic and rhythmic dance section. A recapitulation of the chorale follows, and the work concludes with a brilliant fanfare. This is a unique musical work and an ideal contest selection.

SKU: PR.115402350

ISBN 9781491129388. UPC: 680160674039. 9 x 12 inches.

The years leading to the US Bicentennial (1976) saw a great flowering of artistic celebration, including the commissioning of American composers to write festive works for the occasion. The Nashville Symphony and its conductor Thor Johnson asked Adolphus Hailstork for such a work to premiere, and to distribute the music at no cost to high school orchestras around the United States. The present version for band followed as a natural offshoot of the infectiously exhilarating 3-minute work.

SKU: CL.026-4898-00

Howard Rowe’s delightful A Celebration Of Hanukkah is now available for flexible instrumentation in the Build-A-Band series. Playable by small ensembles or those with unusual or unbalanced instrumentation, this charming work contains Mi Y’maleil, Maoz Tzur, The Dreydl Song, Chanukan Chag Yafe Kol Kach, and Hanerot Halalu. Playable by bands with a wide range of experience, yet nice enough to be performed by more advanced groups with little rehearsal time. An outstanding arrangement that adds pizzazz to any holiday performance!

About Build-A-Band Series

The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)

SKU: CF.CPS210F

ISBN 9781491153048. UPC: 680160910540.

A driving composition from Sean O'loughlin,?Commence!?begins with a spirited theme that oscillates between triple and duple meter. After developing into a heartfelt lush brass chorale, the lilting theme returns again. The composition concludes with a dramatic return of the B theme and a rousing finale. A beautiful piece,?Commence!?is a?strong choice for any contest or festival.

Commence! was commissioned by the Lynden High School Class 2017-2019 and the Lynden, WA Community, and is dedicated to Steve Herrick in celebration of his retirement. Mr. Herrick and I first collaborated on a commission in 2006, and I was immediately taken by the community and the music program in Lynden. It is truly one of the most beautiful places in the country and full of musical inspiration at every turn.

This piece is a loving tribute to Mr. Herrick and his amazing contribution to the students of Lynden for over thirty years. The music begins with a spirited section oscillating between 6/8 and 2/4 time. It should maintain a pulsing feeling throughout. The main melody appears at m. 25 and has a lilting, reminiscing quality to it. After some further development, it moves to a B-section at m. 41 with some warm brass passages. The woodwinds should soar over the top with their counter line. The lower voices take over the melody at m. 59. The harmony becomes more discordant at m. 71 with passages trading between the brass and woodwinds.

This tension releases into a slow section that features a flowing, heartfelt melody. This builds to the big moment at m. 112. The timpani ushers us back to the 6/8, 2/4 section. The melody is now accompanied by some flowing counterpoint at m. 153 which leads to the B-section again at m. 169. This time the woodwinds take the lead and the brass provide the counter line. A final big moment at m. 194 is the culmination and high point of the composition. A brief fast section puts a bow on the piece for a rousing finale.

Commence! was commissioned by the Lynden High School Class 2017-2019 and the Lynden, WA Community, and is dedicated to Steve Herrick in celebration of his retirement. Mr. Herrick and I first collaborated on a commission in 2006, and I was immediately taken by the community and the music program in Lynden. It is truly one of the most beautiful places in the country and full of musical inspiration at every turn.

This piece is a loving tribute to Mr. Herrick and his amazing contribution to the students of Lynden for over thirty years. The music begins with a spirited section oscillating between 6/8 and 2/4 time. It should maintain a pulsing feeling throughout. The main melody appears at m. 25 and has a lilting, reminiscing quality to it. After some further development, it moves to a B-section at m. 41 with some warm brass passages. The woodwinds should soar over the top with their counter line. The lower voices take over the melody at m. 59. The harmony becomes more discordant at m. 71 with passages trading between the brass and woodwinds.

This tension releases into a slow section that features a flowing, heartfelt melody. This builds to the big moment at m. 112. The timpani ushers us back to the 6/8, 2/4 section. The melody is now accompanied by some flowing counterpoint at m. 153 which leads to the B-section again at m. 169. This time the woodwinds take the lead and the brass provide the counter line. A final big moment at m. 194 is the culmination and high point of the composition. A brief fast section puts a bow on the piece for a rousing finale.

SKU: PR.465000110

ISBN 9781598062090. UPC: 680160575442.

Castle Creek was written by Dan Welcher in celebration of the Aspen Music Festival's 40th anniversary, and served as a special tribute to the Festival's longtime President, Gordon Hardy. Castle Creek itself is a tributary of the Roaring Fork River on which the Aspen Music Festival campus (as well as Hardy's home) is built. Gordon's initials (G.A.H.) are used as the musical basis for the fanfare, which is centered on the ascending pitches G, A and B, and reflects the upward motion and positivity of the Aspen Music Festival itself. For advanced players. Duration: 5'.
Program Note by the ComposerThere is no “secret program” or hidden meaning in this lively, five-minute work: it was intended as a celebration of the 40th anniversary of the Aspen Music Festival, and as a special tribute to the Festival’s longtime President, Gordon Hardy. The title CASTLE CREEK refers to a tributary of the Roaring Fork River on which the Aspen Music Festival campus (as well as Mr. Hardy’s home) is built.The work pays homage to Gordon Hardy by utilizing his initials (“G.A.H.”) as a musical motive: the three letters correspond to the pitches G, A, and B). This three-note group forms the basis of the fanfare that opens the work, and it also serves as an ostinato, a bass line, and a general means of organizing the work’s tonal centers. Because the three notes are in ascending order, the ever-upward direction of the Aspen Music Festival and the positive energy of Gordon Hardy are readily evident.The athletic fanfare that begins the work (marked “noble, but energetic”) is scored for brass and percussion alone, and may be played as a separate piece. The rest of the ensemble joins at the conclusion of the fanfare, and a spirited tune in 9/8 issues from the woodwinds. After this is given a thorough workout, a middle section in faster 3/4 time provides machine-like energy. Perhaps it is the energy of the Festival, in high gear. At the height of this, the music of the fanfare returns in broad open notes in the brass, with the machine still pulsing in support. The overture ends in a burst of motion, with the three-note motive in its highest transposition.My colleague and former student Paul Bissell made this excellent transcription from the orchestral original.